Bacteria type is an experimental type project, it was developed in the Inkless Type seminar at the HfG Karlsruhe.
The idea of the seminar was to create a font with the backthought that the invention of ink never happened.
To create the shapes of the letters live bacteria was used.
The growth of the bacteria was documented over three weeks and as the bacteria grew the shapes of the letters changed.

Branches is a writing system based on trees and their ramifications developed by Leonie Lude and Arno Schlipf during a workshop by Sereina Rothenberger and Anton Stuckardt at HfG Karlsruhe.
Visit Grow Branches.

„Cactaceae“ was created during the „Inspiration Elsewhere“ seminar led by Jérémy Landes from Velvetyne Type Foundry, at the HfG Karlsruhe. It was inspired by the shape of cacti and the light reflections you might see if they had a glossy surface. The font is more suitable for titles than text and looks really well in white on a dark background. The letters are all finished but some other characters might be missing. When you’re interested, the missing characters can be added.

Computers are companion species. Neurons, electrical pulses, cables, transistors and human error have to co-exist. This typeface is an act of faith in living together with mutual exchange of curiosity and admiration of our skill sets and the termination of any kind of oppression based on material differences.

Extragroße Depeschenschrift is a sans serif linear antiqua and concepted as monospace font for typewriters in 12pt. Equal to a real typewriter, glyphs are limited so similar glyphs are combined in one key on the keyboard. “Zero” and the “O” are identical as the number “one” and “1”. Modified vowels and accents have to be added manualy after printing.
Extragroße Depeschenschrift was designed in a Seminar by Urs Lehni.

„Fragment“ is a monospace font which translates a typewriters mechanical sources of error into the digital: Missing parts and alteration by print quality. Print quality and size affect the angular features of the font while the three cuts show different degrees of fragmentation.
The fragmentation also is a play with the borders of readability. To which point are missing parts added by our viewing habits?

Inspired by the movement of the Slinky, a well-known toy that Richard James invented in 1945. The single letters of Good Stretch were designed with the intention to create a feeling of springyness and motion.

Bright colored and blobby shaped patterns of the poison dart frog mixed together with the strangely formed muscles in Japanese woodcuts.
Kaeru kaeru combines both inspirations in one typeface.
It was created in a seminar called „Type – Inspiration elsewhere“ led by Jérémy Landes at the HfG Karlsruhe. The idea of the seminar was, to take different inspirations out of nature and illustrations and try to combine them to one typeface.

Minority is an ultra condensed, contrasted and sharp font. Sharp as the spider in Minority report. Minority is as mean as the spider, be careful or they will hurt you very badly. But Minority can be nice too, you can use it for free if you want. Minority is watching you. Take care.

By tracing extremly low resoluted Type with Illustrator, I found a way to create endless new forms of glyphs. As an example I created 4 Different typefaces which are differing in the resolution of their orginin. Every typeface comes with a Regular and a Corrected version which improves readibility.

TIGR-Regular is my first take on sans-serif typefaces. It aims for a dynamic, contemporary approach to humanist lettering. My inspiration was mainly drawn from all-time classics such as Gill Sans and Antique Olive. TIGR however is defined by edgy letter shapes trough snappy stroke and sharp endings creating a timely, characteristic appearance. The narrowing line width towards stems or junctions creates an image of easiness in movement – reemphasized by the wide stand of the capital letters. The thus resulting large, very specific counters qualify TIGR for both running text, as well as distinctive display appearances.